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Elton John: Blue Moves

 A l b u m   D e t a i l s


Label: Decca Records
Released: 1976.10.22
Time:
 43:24 / 41:45
Category: Pop/Rock
Producer(s): Gus Dudgeon
Rating:
Media type: CD
Web address: www.eltonjohn.com
Appears with:
Purchase date: 2012
Price in €: 1,00





 S o n g s ,   T r a c k s


CD 1

[1] Your Starter for... (C.Quaye) - 1:23
[2] Tonight (E.John/B.Taupin) - 7:52
[3] One Horse Town (E.John/J.Newton-Howard/B.Taupin) - 5:56
[4] Chameleon (E.John/B.Taupin) - 5:27
[5] Boogie Pilgrim (E.John/D.Johnstone/C.Quaye/B.Taupin) - 6:05
[6] Cage the Songbird (E.John/D.Johnstone/B.Taupin) - 3:25
[7] Crazy Water (E.John/B.Taupin) - 5:42
[8] Shoulder Holster (E.John/B.Taupin) - 5:10


CD 2

[1] Sorry Seems to Be the Hardest Word (E.John/B.Taupin) - 3:48
[2] Out of the Blue (E.John/B.Taupin) - 6:14
[3] Between Seventeen and Twenty (E.John/D.Johnstone/C.Quaye/B.Taupin) - 5:17
[4] The Wide-Eyed and Laughing (E.John/D.Johnstone/J.Newton-Howard/C.Quaye/B.Taupin) - 3:27
[5] Someone's Final Song (E.John/B.Taupin) - 4:10
[6] Where's the Shoorah? (E.John/B.Taupin) - 4:09
[7] If There's a God in Heaven [What's He Waiting For?] (E.John/D.Johnstone/B.Taupin) - 4:25
[8] Idol (E.John/B.Taupin) - 4:08
[9] Theme from a Non-Existent TV Series (E.John/B.Taupin) - 1:19
[10] Bite Your Lip [Get Up and Dance!] (E.John/B.Taupin) - 6:43

 A r t i s t s ,   P e r s o n n e l


Elton John - Piano, Harmonium, Electric Harpsichord, Vocals

Davey Johnstone - Dulcimer, Acoustic Guitar, Mandolin, Electric Guitar, Sitar, Slide Guitar
James Newton-Howard - Organ, Synthesisers, Clavinet, Conductor, Electric Piano, Mellotron, Arrangement
Caleb Quaye - Acoustic Guitar, Electric Guitar, Twelve-String Guitar
David Sanborn - Saxophone
Kenny Passarelli - Bass Guitar
Roger Pope - Drums
Ray Cooper - Percussion
Carl Fortina - Accordion

Paul Buckmaster - Conductor, Arrangement
Martyn Ford - Strings, Orchestra
Gene Page - Strings
Michael Brecker - Horn
Randy Brecker - Horn
Michael Hurwitz - Cello
Barry Rogers - Horn

Cindy Bullens - Vocals, Backing Vocals
Clark Burroughs - Vocals, Backing Vocals
Joe Chemay - Vocals, Backing Vocals
David Crosby - Vocals, Backing Vocals
Ron Hicklin - Vocals, Backing Vocals
Gene Morford - Vocals, Backing Vocals
Graham Nash - Vocals, Backing Vocals
Curt Becher - Backing Vocals, Arrangement
Bruce Johnston - Backing Vocals, Arrangement
Jon Joyce - Backing Vocals
Toni Tennille - Vocals, Backing Vocals

Gus Dudgeon - Producer, Engineer, Remixing, Liner notes
Arun Chakraverty - Engineer
Mark Howlett - Engineer
John Kurlander - Engineer
Earle Mankey - Engineer
John Stewart - Engineer
Phil Dunne - Mixing, Remixing
Arun Chakraverty - Cutting Engineer
Rev. James Cleveland - Director
David Larkham - Coordination
Daryl Dragon - Arrangement
David Costa - Art Direction
David Nutter - Photography

 C o m m e n t s ,   N o t e s


Recorded in March 1976 at Eastern Sound, Toronto.



The immense creativity that had spurred Elton John to realize no less than 11 studio albums in under seven years was beginning to show signs of inevitable fatigue. The same can be said as well of the artist's unfathomable physical stamina, which had included practically nonstop touring around the globe since the early '70s. Although initially Blue Moves (1976) was summarily dismissed by both critics as well as longtime enthusiasts, the double LP has since gained considerable stature within John's voluminous catalog. While comparisons were inevitable to the landmark two-disc Goodbye Yellow Brick Road (1973) song cycle, most similarities in musical style and content end there. John's band had expanded to include the talents of James Newton Howard (keyboards/orchestral arrangements), Kenny Passarelli (bass), Roger Pope (drums), and Caleb Quaye (guitar) - the latter pairing had actually performed with John as far back as his first long-player, Empty Sky (1968) - as well as Davey Johnstone (guitar) and Ray Cooper (percussion) from the "classic" early-to-mid-'70s lineup. As the title suggests, Blue Moves is a departure from the heavier Rock of the Westies (1975). Instead, the album purposefully focuses on moodier and more introspective sides - such as the single "Sorry Seems to Be the Hardest Word" (the effort's sole hit), the achingly poignant "Tonight," and "Cage the Songbird," the latter of which is particularly noteworthy as it recalls the life of Edith Piaf in much the same way that "Candle in the Wind" had immortalized Marilyn Monroe. "One Horse Town," which John briefly revived as a dramatic show opener during late-'80s live performances, is one of Blue Moves' most powerful and straight-ahead rockers. The lively string arrangement by Howard stands as one of the finest contributions to his short-lived tenure in this band, which for all intents and purposes dismantled after the album was recorded in March of 1976. Other standouts include the full-tilt gospel vibe of "Boogie Pilgrim" - which features backing vocals from both the Cornerstone Institutional Baptist and the Southern California choirs under the direction of Rev. James Cleveland - "Crazy Water," the haunting ballad "Idol," as well as the set's closing R&B vamp, "Bite Your Lip (Get Up and Dance!)." While Blue Moves is a far cry from essential entries such as Tumbleweed Connection (1971) or Captain Fantastic and the Brown Dirt Cowboys (1975), the bright moments prove that John could still offer up more than average material. It is also worth mentioning that this effort marked the end of John's initial collaboration with lyricist Bernie Taupin, who would resurface some three years later, albeit haphazardly on 21 at 33 (1979).

Lindsay Planer - All Music Guide



When another performer might have bared his chest and strutted onstage in trousers tighter than White House security, Elton John capered in clown suits and hid behind his glasses. There was something engagingly sly about the self-mocking caption on Rock of the Westies: "Elton John — a boring little musician ... prone to getting fat at Christmas." So much for the more glamorous forms of self-destruction and the stars who seek them. And a thumb of his nose to those who accept only the lean and tragic as veritable pop idols. Elton John refused to take rock & roll that seriously, and we loved him for it.

In music as well as pose, he could successfully diddle the tragic heroes of popular song. "I Think I'm Going to Kill Myself" deals with the real problem of suicide as a gesture (you're not around to appreciate the effect); and the wonderfully cheerful piano, tinkling mindlessly as the singer contemplates his end, drives the humor home. "Crocodile Rock," "I'm Going to Be a Teenage Idol" and "Bennie and the Jets" are less obviously, or perhaps less successfully, tongue in cheek; yet they too hold some popular attitudes — "rock is dead," for instance — up to affectionate and tuneful ridicule.

If John's piano playing tended too much toward cliché, at least his and Taupin's satiric songs used the hackneyed phrases to good effect. Much of the charm of their best work lies in Elton's ability to caricature Fifties frenzy, doo-wah choruses and heavy metal without reproducing them note for note and instrument for instrument. The results are infectious without being overpowering. A wry perspective is maintained.

Admittedly, this perspective can be a drag. Elton John has never been an impassioned interpreter of the songs he sings. Indeed, he is as cautious in committing himself as the most eligible bachelor, so that it is sometimes difficult to know if a tune is intended seriously or as a put on. This problem is increasingly evident on his later albums and means that many songs are less moving than they might be if delivered with conviction. On the other hand, John's detachment has saved some of his and Taupin's heavier numbers from sinking under their own weight. In fact, this may be one secret of their success: keep the audience guessing and don't threaten them with feelings that cut too close to the bone. It is unquestionably a safe approach.

But with Blue Moves, the anxiously awaited double album described by John himself as a turning point, caution has been thrown to the winds. It seems that while passing himself off as a paunchy Everyman poking fun at plastic heroes, Elton John must have been planning how to beat them at their own game all along; for Blue Moves is one of the most desperately pretentious albums around. It's a two-record catalog of musical excess, from the orchestra to the backup choir; from the coy instrumental curtain raiser to the final, painfully prolonged fade-out. It comes with everything but the skintight pants.

I suppose we should have seen it coming. By Rock of the Westies John certainly no longer seemed to consider himself an individual performer. Rather, an assorted collection of sidemen had solidified into a band, and his piano playing had already become less central to the music. From there it was only a short step to turning more of the composing and arranging over to the band, as he has done on Blue Moves. John always may have wanted to be one of the tough guys; certainly, many of the songs on Rock of the Westies are in a darker, more aggressive mood than before. But gone with Elton's piano is much of the deft commentary which once wedded words and music.

Still, Rock of the Westies could be excused as a hasty effort. Blue Moves, on the other hand, means to be taken seriously. It has been elaborately arranged and recorded, yet none of the arrangements have the subtlety that John's piano used to provide. It's no surprise that the best cuts ("Idol," "Shoulder Holster") are the ones with the sparest accompaniment. For the rest, many of the arrangements are little more than crude attempts at sound effects. On a good tune like "Cage the Songbird," the chirping of synthesizer and bell tree is merely distracting. On a weak cut like "Tonight," where a lovers' quarrel is accompanied by moody violins and stormy timpani, the effect is ludicrous.

While Elton John used to poke fun at rock's poses and pretensions, his playing showed that he took the music seriously enough to quote it well. But times have changed. Blue Moves is no different than most double albums in that it contains nowhere near enough good songs to justify the extended length, but songs are no longer the focus. Instead, Blue Moves is preoccupied with sound, with instrumental interludes and tidy segues, to the exclusion of sense. It attempts to satisfy the ears while leaving the emotions completely unaroused. In fact, Blue Moves is the musical equivalent of a dumb but gorgeous one-night stand. Unfortunately, it is also intended as a sort of farewell album and is clearly meant to have a more lasting effect. Instead it sounds like it's time for John to take a rest. "Idol" sums it up neatly:
He was an idol then, now he's an idol here
But his face has changed, he's not the same no-more
And I have to say that I liked the way his music sounded before.
Ariel Swartley - December 30, 1976
RollingStone Issue 654: April 15, 1993



Blue Moves is the eleventh studio album by British singer/songwriter Elton John, released in on 22 October 1976. It was also his second double album (after Goodbye Yellow Brick Road), and his first album released by his own Rocket Records Ltd.

While giving a concert at Wembley Arena to promote the album, John spontaneously announced "I haven't been touring for a long time. It's been a painful decision, whether to come back on the road or not... I've made a decision tonight – this is going to be the last show... There's a lot more to me than playing on the road." He didn't say for how long, but he was serious and temporarily left the touring/live performing scene. Kenny Passarelli, Caleb Quaye, James Newton-Howard and Roger Pope left the band after the album's release. Only Davey Johnstone and Ray Cooper returned in limited roles for John's next album, A Single Man.

Despite the album's darker tone and experimental song line-up, it has held up well with critics and in its initial release made it to No. 3 on the album charts, partly on the strength of the album's biggest hit single "Sorry Seems to Be the Hardest Word". (A single version of "Bite Your Lip (Get Up and Dance!)" also made it as a top 40 hit). John has played several songs from Blue Moves live. Versions of "Sorry Seems to Be the Hardest Word", "Bite Your Lip", "One Horse Town", "Tonight", "Idol" and "Crazy Water" have surfaced in various concert appearances through the years.

John has stated that Blue Moves is one of his favourite albums he has ever recorded. It was Gus Dudgeon's last album produced with John for almost a decade. The cover art for the album is from a painting by British artist Patrick Procktor. In the US, it was certified gold in October and platinum in December 1976 by the RIAA.

"Cage the Songbird" was a tribute to legendary French songstress Edith Piaf, and a year or so later was covered by Kiki Dee on an unreleased Rocket album, which finally was issued in 2008. ("Songbird" originated as part of the Rock of the Westies sessions, but wasn't completed during them, probably because the song's more acoustic, delicate sound didn't fit with the more rock 'n roll approach to the rest of the songs that made the Rock of the Westies final line-up.) The Beach Boys turned down "Chameleon" (which was originally written two years prior to the album's release), but members of the group (including Bruce Johnston and Toni Tennille) turned out to sing backing vocals on John's version. John also performed the song at Wembley Stadium in 1975, where he also performed the Captain Fantastic and the Brown Dirt Cowboy album in its entirety. An excerpt from "Out of the Blue" was used for the closing titles on Top Gear up until the end of that Top Gear format (in 2001). This was one of two albums in which Davey Johnstone does not provide backing vocals; 1997's The Big Picture would be the other.

Wikipedia.org
 

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